Hazardous Items in Oil Painting

HAZARDOUS
SOLVENTS, RESINS,VARNISHES, DRIERS
PAINTING MEDIUMS

My book STRESSES that we can Oil Paint SAFELY and PERMANENTLY
without use of any Hazardous or dangerous materials commonly used today.
These materials can be hazardous and dangerous not only to your health,
but also to the oil paintings you create. In the first photo, I assembled a variety of bottles or cans
containing liquids readily available in any art store, and frequently used by art students and
professionals alike.

I too used them when I began to oil paint, but I wish I knew then what I have since learned about
SAFETY and PERMANENCE.

#3. SOLVENT: I quote from the label:" WARNING: Vapor Harmful. May cause skin or eye irritation,
dizziness,nausea or headache. Avoid inhaling vapors or skin contact. Use only in well ventilated
area. If swallowed...call physician immediately"

#4. COPAL PAINTING MEDIUM: (label quote): "DANGER. Harmful or fatal if swallowed. Contains
TUrpentine....Keep out of reach of children."

#5. ALKYD PAINTING MEDIUM: ( label quote): "CAUTION. Contains Petroleum Distillate...Avoid
prolonged contact with skin, and breathing of vapors or spray mist...keep away from heat and
flame...out of children's reach."

#6. RESIN PAINTING MEDIUM: (label quote): "DANGER. Harmful or fatal if swallowed.
Combustible...irritating to eyes...contains petroleum distillate."

#7. COPAL PAINTING MEDIUM: (label quote): " DANGER..... harmful or fatal if swallowed...."

#8. PICTURE VARNISH: ( label quote ): "DANGER. ...harmful or fatal if swallowed......."

#9. DAMAR VARNISH: (label quote): "DANGER. harmful or fatal if swallowed...contains turpentine.."

BY READING THE LABELS OF THE BOTTLES AND CANS, ONE CAN FULLY UNDERSTAND THE
HAZARDS.

DRIER

The photo below shows COBALT DRIER - LINOLEATE, a liquid drier considered to be
one of the safest, yet still not desirable to use.

Every expert of reputation has warned about the dangers, driers such as this will
cause to the oil paint film. Unwise use will result in a paint film that, with age, will
become brittle, cause cracking, and will darken the colors. These driers are
frequently used by "commercial artists" who work on deadlines and must finish a
painting within hours, and who really are not concerned with the longevity or
permanence of the completed artwork. Adding this drier to the oil paint will accelerate
the drying to within a couple of hours, allowing corrections, over paints, and a rapid
completion.

My book will explain how you can accelerate the drying of your paint film, SAFELY
and PERMANENTLY without the use of any harmful and dangerous chemical driers.
The secret is in the very special linseed oil that is used in the mixture of "Calcite Sun
Oil". However, it must be understood that the drying of all paints is also affected by
the environment. In addition, scientific studies have shown that many of the Old
Masters commonly added INERT POWDERS to their oil paint to further accelerate the
drying of their oil paint, in addition to the special oil they used. These dry INERT
POWDERS are pulverized glass, pulverized marble, pulverized limestone which is
CALCIUM CARBONATE ( also called Calcite or Chalk), and they are perfectly
harmless to the paint film. In addition, experienced oil painters know which of their
pigments dry faster than others. By knowing this, they would paint the under layer
with the fastest drying colors and finish off with the slow drying colors. Used in
conjunction with their special oil, and the inert powders, this practice lead to SAFE
and PERMANENT painting.

COBALT DRIER
The label is a little difficult to read,
but the WARNING is clearly marked:
DANGER. HARMFUL OR FATAL...

SUN THICKENED LINSEED OIL

My book will clearly explain the importance of the very SPECIAL Linseed Oil to be used in painting. I stress
the importance that the linseed oil must be UNREFINED and I explain how you can inexpensively
"PROCESS" your own for about $12 , for 8 fluid ounces. This SPECIAL oil can no longer be purchased
online, and it is not for sale in art stores. It is very expensive because...IT IS THE BEST. Once you use it,
you will understand its importance. The reason the heat extracted , chemically ALKALI REFINED, linseed oils
are on the market , is because of the LOW COST to produce them. The Old Masters, whose oil paintings
are still with us after 500 years, did NOT have available to them, nor did they use ALKALI REFINED linseed
oil.

BUYER BEWARE: There is a Linseed oil on the market with the label ( see photo below) stating it is
"SUN THICKENED LINSEED OIL". It may very well have been placed out in the sun, but It is not the same
BECAUSE...the label states it is made from REFINED LINSEED OIL. I have tested this oil, and it is a very
slow drying oil ( 6 days). I will show you how to easily make your own FAST drying , TRUE Sun Thickened
UNREFINED, Cold Pressed linseed oil, like that used by the Old Masters, that dries in 30 hours or less.

READ THE REVIEWS ON
www.amazon.com
AVAILABLE WORLD WIDE

see the CSO video on
YOUTUBE

PLEASE SEE THE PAGE TITLED: BLOG and FAQ'S

It contains AN excellent essay on the MAROGER'S MEDIUM

SCROLL DOWN HERE TO SEE the essay on
SAFETY OF OIL PAINT COLORS.

SAFETY IN OIL PAINTING : by ALESSANDRA KELLY
This EXCEPTIONAL essay by a very fine Artist/ Professor , is of such value to ALL OF US. Do not let the word 'PREGNANT' stop you
from reading it. See her website for much more great information: http://www.alessandrakelley.com/Hazards.html
...THANK YOU Ms. Kelly !!!!

SAFETY CONCERNS FOR PREGNANT PAINTERS
© 1997-2004 by Alessandra Kelley
(Permission is given to disseminate this paper in its current form, including copyright information)
NEW INFORMATION. Some of the information is this paper has become outdated and has been changed.

Many of the common substances, the solvents, varnishes, inks, paints, and pigments used by painters and other artists are hazardous.
Most of us know this, but what we may not know is how narrow the scope of our knowledge is. When I became pregnant, I discovered
that, although there are numerous good reference works to warn of specific dangers, there is little specifically aimed at the special
requirements of pregnant women.

When I realized this, and after I had gleaned what information I could from the various reference books available, I underwent genetic
counseling (a prenatal procedure I heartily endorse for all women concerned about possible hereditary or environmental problems). I
was given a large number of useful handouts, which I have integrated with what I found in the books to produce, I hope, a clear, basic
guideline of use to painters.

A cautionary note: I am not a doctor, I am an inquisitive artist. This paper was begun in 1996, and has been somewhat updated since
then. I mean it as a quick reference and starting point for concerned artists. Please see "Recommended Reading" at the end of this
document and the special Safety Hazards Links to the left for more information, and don't ever be shy about asking your obstetrician.

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In addition to the normal worries of hazardous art materials (ie mutagens, carcinogens, etc.), the pregnant painter has special concerns.
Not only is she more susceptible to toxins as her metabolism changes, she must also watch out for substances which pose especial
risks to her unborn child. The words for these substances are fetotoxin (or embryotoxin), a substance which can kill an unborn baby,
and teratogen, one which can cause serious birth defects (Teratogen is an especially helpful word to know when searching indices.).
Many solvents are teratogenic or fetotoxic; these include paint removers like benzene, toluene, and xylene, and the various glycol
ethers, which are solvents for lacquers, inks, paints, and varnishes. Turpentine and odorless mineral spirits, although irritating to the
skin and lungs and poisonous if ingested, pose no extra threat to the unborn baby. To be on the safe side, I did not paint with oils at all
during my pregnancy, using only acrylics and egg tempera. Watercolor also would pose minimal risk.

A surprising number of common pigments have been shown to behazardous. I will go color group by color group, pointing out the most
dangerous pigments, the borderline ones, and the acceptable ones, as well as a few difficult cases. When the evidence is conflicting, I
tend to go with the more alarming news just to be sure. I will identify each by its common English name and by its Colour Index Name,
which identifies the exact chemical pigment used (That is, a paint can have all sorts of names -- "Phthalocyanine Blue", "Thalo Blue",
"Winsor Blue". "Monastral Blue", "Peacock Blue" -- but if they all are identified as PB 15 on the label, they all contain the pigment
Phthalocyanine Blue) .

No dry pigment is completely safe. They are microscopically small, and even the most benign of them is a serious breathing hazard.
Furthermore, they can contaminate the home environment, as they are too small to clean up completely. Please always wear an
OSHA-approved breathing mask and preferably gloves and a protective apron whenever handling dry pigments, and please only use
them in your studio, not the home.

IMPORTANT: "[None of the organic pigments have ever been studied for teratogenic effects, reproductive effects, or cancer." (Monona
Rosso ] This is pretty outrageous, but what it means is that none of the organic pigments -- I'll identify a number of them below -- can be
trusted. An organic pigment is one that contains carbon; they are usually more complex than inorganic pigments. For instance, all the
Mars colors are inorganic; they are variations of rust, iron oxide. They basically consist of iron and oxygen, but no carbon. An example
of an organic pigment would be quinacridone gold, which has an extremely complicated structure including carbon. Many organic
pigments are closely related to known carcinogens. ORGANIC PIGMENTS MUST BE CONSIDERED UNSAFE.

REDS
There are a great many red pigments, and happily many of them are acceptable to use during pregnancy (see the reference lists at the
end of this article); most of these are earth colors, rather soft in tone.
Acceptable reds include all the earth reds (English Red, Red Ochre, Venetian Red, etc. All of these have the Colour Index Name PR
101), Mars Red (PR 101) and other Red Oxides (PR 101), and Ultramarine Red (PV 15), a weak, transparent pinkish red related to
Ultramarine Blue (PB 29).

But even these must be handled with care. Earth reds and Mars reds and red oxides are all variations of iron oxide, rust (Note they all
have the same Colour Index Name, PR 101). Pregnant women must be very careful not to inhale them, as they can upset the essential
mineral balance of their bodies. Do wear a mask.

Unfortunately, the bright reds are more problematic.

All cadmium colors, including Cadmium Reds (PR 108:1 PR 113) and Cadmium-Barium Reds (PR 108, PR 113:1),are teratogens and
embryotoxins, in addition to their other carcinogenic and toxic properties.

Vermilion (PR 106), which contains mercury, is vilified in all the art books, and exposure to mercury can cause serious birth defects (I
should point out that the toxicity review I received claimed that the greatest danger was with organic (carbon-containing) mercury
compounds, not inorganic ones like vermilion (mercuric sulfide). But it's still very nasty.).

Organic red pigments include Benzimidazolone Maroon (PR 175), Thioindigoid Red (PR 88 MRS, PR 181), and Quinacridone Reds (PR
122, PR 192, PR 207, PV 19)). They are listed as "nontoxic", but they have NEVER ACTUALLY BEEN TESTED for teratogenic or
embryotoxic properties. Avoid them.

Lithol Red, a synthetic organic, is a known carcinogen.

ORANGES
Cadmium Orange (PO 20, PO 20:1) is a teratogen and embryotoxin (see Cadmium Red, above).
Organic oranges include Benzimidazolone Orange (PO 36, PO 60, PO 62), Perinone Orange (PO 43), and Quinacridone Gold (PO 48,
PO 49). (See "Reds" for my objections to them.)

Acceptable oranges include Mars Orange (PY 42) and any orange Ochres (PR 101).

YELLOWS
Cadmium Yellows (PY 35, PY 35:1, PY 37, PY 37:1) are teratogens and embryotoxins (see Cadmium Red, above).
Diarylide Yellow, a synthetic organic, is a teratogen and suspected carcinogen (it contains polychlorinated biphenyls, or PCBs).

Naples Yellow (PY 41) and Chrome Yellow contain lead and are teratogens.

Cobalt Yellow (PY 40), or Aureolin, is poisonous due to cobalt.

Benzimidazolone Yellow H3G (PY 154), Nickel Azo Yellow (PY 150), and Titanium Yellow (PY 53) contain nickel, a skin irritant.

Organics include the Hansa Yellows (PY 1, PY 3), also called Arylide Yellows, which studies have shown might be both toxic and
cancer-promoting. (See "Reds" for my general objections to synthetic organic pigments.)

Mars Yellow (PY 42) and Yellow Ochre (PY 43) are acceptable.

GREENS
Almost all greens contain chromium, cobalt, or copper, all of which are poisonous and cause or are suspected to cause birth defects
and abnormalities.
Phthalocyanine Green (PG 7, PG 36), probably the single most popular green today, can cause birth defects and miscarriages due to
the presence of copper. It has in the past been contaminated with PCBs and still often is; "phthalocyanine pigment manufacture is being
done primarily in foreign countries where safety regulations are not as strict . . . enforcement of import regulations on these substances
has been very lax of late" (M. Rossol)

Chromium, a carcinogen which causes birth defects, is found in Viridian (PG 18) and Chromium Oxide Green (PG 17).

Cobalt Green (PG 19) contains cobalt.

Green Gold (PG 10) contains nickel.

There are two acceptable greens: Green Earth (PG 23) (also called Terre Vert) and Ultramarine Green. Both, regrettably, are weak,
soft, and transparent. They are also very rare. No acrylics manufacturer, to my knowledge, makes either of them. The only brands of oil
paint that I know produce Ultramarine Green at the time of this writing are Maimeri Artisti and Winsor & Newton Artists Oils. Green Earths
are more numerous, but one must take care that they have not been adulterated with one of the poisonous greens to produce a
stronger color. Brands that produce unadulterated Green Earths include Lapis Artists Oils, Old Holland Classic Oil Colours,
Schmincke-Mussini Resin-Oil Colours, and Williamsburg Handmade Oil Colors.

BLUES
Phthalocyanine Blue (PB 15, PB 16) has the same problems as Phthalocyanine Green (i.e. it is both a teratogen and an embryotoxin
and is almost certain to be contaminated with PCBs, even these days).
Cerulean Blue (PB 35) and Cobalt Blue (PB 28) contain cobalt.

Indanthrone Blue (PB 60) is organic. (See "Reds" for my objections to synthetic organic pigments.)

Manganese Blue (PB 33) contains manganese, which appears to be a mutagen in large doses.

The least dangerous blue is Ultramarine Blue (PB 29).

Prussian Blue (PB 27) can produce poisonous cyanide under mild alkaline and acidic conditions. The reproductive toxicity review I was
given in 1995 did not mention this, saying that ferrocyanides (Prussian Blue is ferric ferrocyanide) were used as anticaking agents in
table salt and precipitants in wines. At that time I chose to use Prussian Blue, but with this new information I would certainly not if
pregnant.

VIOLETS
Cobalt Violet (PV 14) and Manganese Violet (PV 16), as might be expected, are poisonous.
Dioxazine Purple (PV 23 RS, PV 23 BS) and Quinacridone Violet (PV 19) are organic pigments. (See "Reds" for my objections to
synthetic organics.)

Ultramarine Violet (PV 15) is relatively benign, and much more common than Ultramarine Green, although it shares its problems of
transparency and lack of intensity.

Mars Violet (PR 101) is acceptable.

BROWNS
Burnt Umber and Raw Umber contain manganese. So does Mars Brown (PBr 6).
Burnt Sienna and Raw Sienna are acceptable.

Unfortunately, the Colour Index Name is identical for all Umbers and Siennas: PBr 7. You have to go with the name of the pigment to tell
the difference.

BLACKS
Lamp Black (PBk 6) can cause cancer by skin contact, but is not an especial danger to an unborn baby.
Graphite (PBk 10) dust is highly toxic if inhaled.

Ivory Black (PBk 9) and Mars Black (PBk 11) are acceptable.

WHITES
Flake White (PW 1) is a teratogen; it contains lead and can be both acutely (instantly) or chronically (long-term) toxic.
Zinc White (PW 4), an antiseptic, can be moderately irritating if swallowed.

Titanium White (PW 6) is acceptable.

A careful reader will have noted that a palette of strictly acceptable colors is lacking some things. There are no very bright reds or
yellows, and the green situation is hopeless -- not only are the only two safest greens pale and hard to find, but also there are no bright
yellows or blues suitable to mix any others. What to do?

Clearly some compromise is necessary if one doesn't want to give up painting for the duration. One could take up the challenge of a
severely limited palette; it is still possible to come up with some extraordinary effects using only the colors listed, and the discipline of
having to think very carefully about one's color mixes can be very helpful. Or one could consider painting in egg tempera, where all
colors are brighter.

Beware organic pigments. Pretty though they are, labeling requirements and testing are vague enough that you and your unborn child
might risk being guinea pigs. No matter what, use proper precautions (I paint in a protective apron and latex gloves).

The important thing is to know what you're working with and what the risks are. I list a few books below which you ought to know about, if
you don't already have them. Finally, I cannot recommend genetic counseling highly enough. It's inexpensive (although not many
hospitals in the USA offer it), it brings great peace of mind, and you'll get the most up-to-date information.

RECOMMENDED READING
Gottsegen, Mark David. The Painter's Handbook, Watson-GuptillPublications, New York 1993.
McCann, Michael. Artist Beware, Watson-Guptill Publications, New York 1979.
McCann, Michael. Health Hazards Manual for Artists, Nick Lyons Books, New York 1985.
Rossol, Monona. Artists Complete Health & Safety Guide 3rd Edition, Watson-Guptill Publications, New York 2001.

LOWEST RISK PIGMENTS
Burnt Sienna (PBr 7)
Caput Mortuum (PR 101)
English Red (PR 101)
Flesh Ochre (PY 43 or PR 101)
Gold Ochre (PY 43)
Green Earth (PG 23)
Indian Red (PR 101)
Iron Oxides (PY 42, PR 101, PBk 11) (except for Mars Brown (PBr 6))
Ivory Black (PBk 9)
Mars Black (PBk 11)
Mars Orange (PY 42)
Mars Red (PR 101)
Mars Violet (PR 101)
Mars Yellow (PY 42)
Ochres (naturally-colored clays, mostly yellowish) (PY 43)
Raw Sienna (PBr 7)
Red Ochre (PR 101)
Terre Vert (PG 23)
Titanium White (PW6)
Transparent Red Oxide (PR 101)
Transparent Yellow Oxide (PY 43)
Ultramarine Blue (PB 29)
Ultramarine Green
Ultramarine Red (PV 15)
Ultramarine Violet (PV 15)
Venetian Red (PR 101)
Yellow Ochre (PY 43)

MODERATELY RISKY PIGMENTS
Titanium Yellow (PY 53)
Zinc White (PW 4)

HAZARDOUS PIGMENTS
Pigments marked with an * are teratogenic or fetotoxic in humans and/or lab animals
Pigments marked with an (O) are organic

Alizarin Crimson (PR 83)(O)
Arylide Yellows (PY 1, PY 3) (O)
Aureolin (PY 40)
Benzimidazolone Maroon (PR 175)(O)
Benzimidazolone Orange (PO 36, PO 60) (O)
Burnt Umber (PBr 7)
*Cadmium Orange (PO 20)
*Cadmium Red (PR 108:1)
*Cadmium Yellows (PY 35, PY 37)
*Cadmium-Barium Oranges (PO 20:1, PO 23:1)
*Cadmium-Barium Reds(PR 108, PR 113:1)
*Cadmium-Barium Yellows (PY 35:1, PY 37:1)
*Cadmium Vermilion Orange (PO 23)
*Cadmium Vermilion Red (PR 113)
Cerulean Blue (PB 35)
*Chrome Yellow
Chromium Oxide Green (PG 17)
Cobalt Blue (PB 28)
Cobalt Green (PG 19)
Cobalt Violet (PV 14)
Cobalt Yellow (PY 40)
*Diarylide Yellow
Dioxazine Purple (PV 23 RS, PV 23 BS)(O)
*Flake White (PW 1)
Graphite (PBk 10)
Green Gold (PG 10)
Hansa Yellows (PY 1, PY 3)
Hydrated Chromium Oxide Green (PG 18)
Indanthrone Blue (PB 60)(O)
Lamp Black (PBk 6)
Lithol Red
Mars Brown (PBr 6)
Manganese Blue (PB 33)
Manganese Violet (PV 16)
Naphthol Reds (PR 5, PR 7, PR 9, PR 14, PR 112, PR 119, PR 170, PR 188) (O)
*Naples Yellow (PY 41)
Nickel Azo Yellow (PY 150)
Oxide of Chromium (PG 17)
Perinone Orange (PO 43) (O)
*Phthalocyanine Blue (PB 15, PB 16)
*Phthalocyanine Green (PG 7, PG 36)
Prussian Blue (PB 27)
Quinacridone Gold (PO 48) (O)
Quinacridone Magenta (PR 122) (O)
Quinacridone Red (PR 192, PV 19) (O)
Quinacridone Scarlet (PR 207) (O)
Quinacridone Violet (PV 19)(O)
Raw Umber (PBr 7)
Thioindigoid Red (PR 88 MRS, PR 181)(O)
Toluidine Red
Vermilion (PR 106)
Viridian (PG 18)